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UNIVERSITY    OF    ILLINOIS    LIBRARY    AT    URBANA-CHAMPAIGN 


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DEC  181936 

DEC  i  8  :t 

JUL  1  9 1988 
APR17  1P 

M  o  3  mi 

JUN  0  1  ts-92 


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L161— O-1096 


THE  CHINESE  GATEWAY 


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FIELD  MUSEUM  OF  NATURAL  HISTORY 


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1922 


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THE  UBBAHY 
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Field  Museum  of  Natural  History 

Department  of  Anthropology 

Chicago,  1922 
Leaflet  Number  1 

The  Chinese  Gateway 

(At  South  End  of  Stanley  Field  Hall) 

Large  gateways  of  high  architectural  order  occupy 
a  prominent  place  in  the  streets  of  Chinese  cities,  in  the 
courtyards  of  temples,  or  on  avenues  leading  to  a  tomb 
or  mausoleum.      As  a  type  of  architecture,   they  are 
based  on  the  so-called  Torana  of  India,  plans  of  which 
were  introduced  into  China  and  Japan  as  a  sequel  of 
Buddhism.      In  the  Buddhist  art  of  ancient  India,  orna- 
mental stone  rails  were  built  as  enclosures  around  the 
topes  (mounds  or  structures  containing  sacred  relics), 
four  gateways  of  highly  decorative  style  being  placed 
in  these  rails.     The  Chinese,  however,  did  not  slavishly 
i .    imitate  these  monuments,   but  merely  took  them  as 
l>    models  and  lavished  on  them  the  wealth  of  their  own 
j    decorative  motives. 

While  the  Romans  erected  triumphal  archways  in 
-.  commemoration  of  military  successes,  while  the  people 
±  of  India  built  them,  in  honor  of  their  greatest  man, 
Buddha,  the  minds  of  a  philosophical  nation  like  the 
Chinese  drifted  in  a  different  direction.  The  exaltation 
of  military  victories  had  no  room  in  their  thoughts;  they 
raised  sanctuaries  to  glorify  their  philosophers  and 
statesmen,  their  sages  and  scholars,  who  shaped  and 
advanced  the  mental  and  ethical  culture  of  the  nation. 
The  character  of  Chinese  art  is  impersonal,  nor  does  it 
glorify  the  individual.     China  has  no  statues  or  portraits 

rof  emperors  and  generals. 
Honorary   gateways  were  erected  in  memory  of 
q      deserving  servants  of  the  state  and  virtuous  women. 
Widows,  who  did  not  remarry  after  their  husband's 

[i] 
i 

595509 


2  Field  Museum  of  Natural  History 

death,  and  who  faithfully  nursed  their  parents-in-law, 
were  entitled  to  this  honor;  likewise  children  for  unusual 
acts  of  filial  piety,  persons  who  had  reached  the  age  of 
one  hundred,  and  statesmen  for  loyal  devotion  to  the 
throne.  If  such  a  canonization  was  recommended,  the 
emperor,  on  receiving  the  petition,  issued  a  "holy  edict," 
which  was  chiseled  in  stone  on  the  top  of  the  monument, 
and  he  contributed  the  sum  of  thirty  ounces  of  silver. 
The  balance  of  the  cost  was  subscribed  by  the  family  of 
the  honored  person  or  by  the  grateful  community. 
The  ideal  purpose  of  these  gateways,  accordingly,  was 
to  perpetuate  to  posterity  the  memory  of  excellent  men 
and  women  and  to  act  as  an  influence  on  the  conduct  of 
the  following  generations. 

The  number  of  openings  or  passages  in  gateways  is 
usually  three,  as  in  the  gateway  of  the  Museum,  while 
more  rarely  five  arches  occur.  Such  may  be  seen,  for 
instance,  on  the  tomb  of  Confucius  in  Shantung  or  on 
the  avenue  leading  to  the  mausoleum  of  the  Ming 
emperors,  north  of  Peking.  Marble,  granite,  sand- 
stone, and  wood  are  employed  for  gateways.  Wooden 
structures,  as  a  rule,  are  less  elaborate  than  those  of 
stone.  The  gateway  shown  in  the  Museum  is  a  very 
exact  reproduction  in  teakwood  of  one  in  stone,  with  all 
the  rich  details  of  ornamentation.    . 

The  harmonious  construction,  the  ingenious  compo- 
sition, the  pleasing  proportions,  and  skill  in  workman- 
ship, are  notable  features.  The  four  pillars  are  each 
adorned  with  a  powerful,  scaly  dragon,  rising  from  the 
depths  of  the  sea  heavenward  into  clouds  and  making 
for  a  flamed  pearl:  the  aspiration  for  an  ideal  that  is  set 
before  man,  but  that  can  never  be  reached.  The  pedes- 
tals carry  figures  in  the  round  of  lions  playing  with  their 
young;  altogether  forty-two  lions  are  represented.  It  is 
remarkable  that  each  and  every  lion  is  different  in 
posture  and  action.  Some  are  provided  with  collar-bands 
and  bells;  some  have  their  manes  rolled  up  in  spirals, 

[2] 


The  Chinese  Gateway  3 

while  others  have  two  bearded  tips.  In  some,  the  eye- 
brows are  conventionalized  into  spiral  designs;  in  others, 
they  hang  over  the  eyeballs.  In  the  two  corners  is 
represented  a  drum  on  each  side  of  which  are  shown 
three  lion-cubs  chasing  a  ball. 

A  great  deal  of  symbolism  is  connected  with  the  lion. 
The  Chinese  recognize  him  as  the  king  of  all  beasts,  and 
his  roaring  dispels  phantoms.  Under  the  imperial  re- 
gime, the  Grand  Preceptor  of  the  emperor  and  his 
assistant  occupied  a  high  rank  among  the  state-officials, 
for  it  was  the  duty  of  these  functionaries  to  inculcate  in 
the  heir-apparent  the  maxims  of  good  government  and 
conduct.  Being  called  Vai  shi  ("grand  preceptor")  and 
shao  shi  ("small  preceptor"),  a  pun  was  easily  suggested 
by  the  designation  of  the  lion,  which  likewise  is  shi. 
Thus  the  representation  of  a  large  and  a  small  lion  in- 
timates the  wish,  '  'May  you  obtain  the  position  of  the 
first  and  second  dignitary  at  the  imperial  Court!" 
Again,  the  lions  engaged  in  playing  ball  symbolize  the 
peace  and  prosperity  of  the  empire.  In  this  case,  the 
lions  represent  military  officers,  who  are  not  obliged  to 
go  to  war,  but  who  indulge  at  home  in  the  harmless 
sport  of  ball-playing. 

The  inscription,  consisting  of  eight  gilded  characters 
(four  on  each  side)  and  set  off  from  a  diapered  back- 
ground, reads, — 

"Your  merits  shine  like  sun  and  moon, 

"Your  good  deeds  vie  in  extent  with  streams  and  mountains." 

This  panel  is  bordered  by  a  pair  of  dragons  on  the 
upper  and  lower  sides  and  by  the  figure  of  a  phoenix  to 
the  right  and  left. 

The  principal  and  most  conspicuous  portion  of  any 
Chinese  structure  is  the  roof.  In  a  private  mansion,  it 
is  the  index  of  the  owner's  taste  and  social  standing. 
In  a  public  building,  it  indicates  at  once  its  peculiar 
character;  and,  according  to  the  simplicity,  grandeur, 

[3] 


4  Field  Museum  of  Natural  History 

massiveness,  vigor,  or  elegance  of  construction,  as  the 
case  may  be,  foreshadows  its  scope  and  importance. 
Color  symbolism  expressed  by  the  hues  of  the  glazed 
tiles  is  another  means  of  identification.  In  the  gateway, 
each  passage  is  surmounted  by  a  roof  of  its  own,  the 
three  roofs  being  so  organically  connected  that  the  im- 
pression is  conveyed  of  a  double  roof.  The  graceful, 
picturesque  curves  on  the  corners  ("flying  eaves,"  as 
they  are  styled  by  the  Chinese)  are  each  surmounted  by 
four  lions,  believed  to  be  faithful  guardians  and  to  ward 
off  evil  influences  from  the  monument. 

The  roof  is  supported  by  eight  struts  (four  on  each 
side),  carved  into  the  appearance  of  bamboo  stems  with 
exuberant  foliage.  Rafters  and  tiling  are  so  skilfully 
brought  out  in  the  woodwork  as  to  inspire  a  perfect 
illusion.  Sixteen  carvings  of  figures  in  the  round  are 
displayed  over  the  roof:  they  represent  military  officers, 
eight  on  horseback,  and  eight  on  foot,  each  in  full  armor, 
equipped  with  spears,  halberds,  clubs,  and  other  weap- 
ons, and  attended  by  footmen  holding  flags. 

The  ridge-pole  is  adorned  with  a  panel  carved  in 
open  work  with  two  dragons  struggling  for  the  flamed 
pearl,  and  surmounted  by  a  calabash.  The  latter  is  an 
emblem  of  the  creative  power  of  nature,  of  fertility  and 
abundance  (corresponding  to  our  horn  of  plenty).  The 
Taoist  adepts  used  calabashes  to  store  the  elixir  of  im- 
mortality, and  druggists  preserve  their  medicines  in 
them  or  in  gourd-shaped  vials.  The  ridge-poles  are 
flanked  by  dolphins,  head  downward  and  tail  upward, 
the  belief  being  entertained  that  they  safeguard  the 
structure  from  conflagration.  The  wooden  balls  sup- 
ported by  wires  are  intended  for  water  bubbles  rising 
from  the  clouds  by  which  the  dragons  are  enveloped. 

In  the  dragon-columns  the  favorite  personages  of 
Taoist  mythology  are  represented.  On  the  two  inner 
columns  we  note  the  so-called  Eight  Immortals,  bestow- 

[4] 


The  Chinese  Gateway  5 

ing  on  mankind  old  age  and  all  sorts  of  blessings:  Chang 
Kuo  with  his  magic  wand  capable  of  fulfilling  his  every 
wish;  Ts'ao  Kuo-k'iu  with  his  castanets,  by  means  of 
which  he  performs  magical  feats;  Chung-li  Kuan  with 
his  fan;  Han  Siang-tse  blowing  his  flute;  Lii  Tung-pin 
with  a  magic  fly-whisk  and  sword  on  his  back;  the 
beggar  Li  T'ie-k'uai  with  a  calabash  full  of  blessings; 
Lan  Ts'ai-ho  with  a  flower-basket;  and  the  fairy  Ho 
Sien-ku  with  the  stem  of  a  lotus,  the  sacred  emblem  of 
purity.  Compare  the  two  sets  of  bronze  images  of  the 
Eight  Immortals  in  Blackstone  Chinese  Collection, 
Case  21. 

On  the  two  outer  columns  are  portrayed  two  Taoist 
sages  or  hermits,  one  shouldering  a  branch  with  peaches, 
which  ripen  but  once  in  three  thousand  years  in  the 
paradise  of  the  goddess  Si  Wang  Mu,  and  which  confer 
immortality  on  the  adepts  of  Taoism,  and  two  fairies  with 
miraculous  fly-brushes.  It  was  the  belief  of  the  Taoists 
that  contact  with  nature,  a  contemplative  life  in  the 
solitude  of  mountains,  is  conducive  to  purification,  old 
age,  and  speedy  salvation;  in  this  manner  the  soul  ulti- 
mately is  capable  of  soaring  heavenward  on  the  wings 
of  a  crane.  Thus  we  see  two  recluses  astride  cranes 
carried  upward  at  the  end  of  their  earthly  career.  In 
the  lower  portions  of  the  outer  pillars  are  figured  the 
gay  twin  genii  of  Union  and  Harmony;  one,  holding  a 
covered  jar  from  which  emanates  a  tree  covered  with 
money ;  the  other,  a  lotus.  These  emblems  are  suggested 
by  punning,  both  the  lotus  and  a  jar  being  called  ho, 
and  two  other  words  ho  being  expressive  of  the  notions 
"union"  and  "harmony." 

Other  Taoist  symbols  are  illustrated  in  the  panels  on 
the  pedestals.  One  of  these  shows  a  crane  soaring  in 
clouds  above  a  pine-tree, — both  being  symbols  of  en- 
durance and  longevity — and  a  deer,  which  is  emblematic 
of  high  official  dignity  and  good  income.  Another  rep- 
resents a  phoenix    alighting  upon   the  beautiful  Wu- 

[5] 


6  Field  Museum  of  Natural  History 

t'ung  tree  (Sterculia  platanifolia),  famed  in  legend  and 
art,  and  the  unicorn  Kilin,  the  emblem  of  perfect  good, 
that  appears  only  at  the  birth  of  a  virtuous  ruler. 

The  high-relief  carvings  that  decorate  the  horizontal 
lintels  above  the  passages  carry  us  back  to  realistic 
scenes  of  human  life.  They  are  arranged  so  that  war- 
like scenes  are  assembled  on  one  side  of  the  gateway, 
while  representations  of  peaceful  pastimes  occupy  the 
opposite  side.  The  main  themes  of  the  artist  are  tourna- 
ments of  ancient  paladins,  thrusting  halberds  or  spears 
at  one  another  in  front  of  a  city-wall,  from  the  rampart 
of  which  other  grandees  eagerly  watch  the  spectacle. 
Or  a  cavalier  turning  backward  on  his  galloping  steed 
sends  an  arrow^at  his  adversary,  whose  helmet  is  pierced 
by  it,  while  tents  surrounded  by  standards  lend  color  to 
the  background  of  the  military  action.  The  genre- 
scenes  depict  the  tribunal  of  a  high  official,  old  men 
enjoying  themselves  in  a  grove,  a  lady  travelling  in  a 
push-cart  and  escorted  by  mounted  lancers,  or  a  monk 
conducting  a  dignitary  to  the  gate  of  his  temple,  which 
bears  the  name  "Temple  of  Sweet  Dew"  (Kan-lu-se). 

There  are  altogether  twenty-two  corbels,  sixteen 
being  decorated  with  designs  of  a  phoenix,  and  six  with 
interesting  scenes  describing  the  pastimes  of  cultivated 
gentlemen  of  leisure,  as  follows: — Feeding  ducks,  en- 
joying a  cup  of  wine  in  a  grove  of  pine-trees,  writing  a 
poem  on  a  rock,  painting  a  bamboo  sketch  on  a  scroll, 
reading  in  the  woods  at  a  table  formed  by  a  bowlder, 
playing  the  lute,  dancing  around  a  rock,  taking  a  stroll 
in  the  company  of  a  youth,  who  carries  a  pot  of  peonies, 
playing  checkers  on  a  stone  board,  planting  flowers  in  a 
bed,  examining  the  growth  of  plants,  going  a-fishing 
with  a  long  rod  over  the  shoulder. 

It  will  thus  be  seen  that  the  art  displayed  on  this 
gateway  is  a  marvelous  embodiment  of  Chinese  life  and 
thought,  a  record  of  cosmogony  and  mythology,  of 
heaven  and  earth. 

[6] 


The  Chinese  Gateway  7 

The  gateway  is  carved  from  teakwood,  being  19 
feet  in  height  and  16  feet  9  inches  in  width.  It  was 
made  in  the  Chinese  Orphanage  of  Sikkawei,  a  Jesuit 
institution,  near  Shanghai,  and  was  first  on  exhibition 
in  the  Palace  of  Education  at  the  Panama  Pacific  Inter- 
national Exposition  of  San  Francisco. 

B.  Laufer 


[7] 


OmVERSfTr  OF  n  LHMHS  LfflRARV 

AUG  16  1S22 


